Search: Starring Luis Guzman

The killer's identity adds fuel to the flames of absurdity.

Despite appealing leads and the subtle creepiness of the escalating phone-calls, director Matthew Parkhill can't make the pieces fit, leaving the audience hanging in frustration rather than in suspense.

There is simply nothing worthy of recommendation here.

It's a delight, one that earns its place in a cultural canon.

Clever thrillers that flirt with film noir are always welcome, but this is too smart for its own good.

The story is told without frills and if you find yourself choking with emotion practically all the way through, it doesn't feel faked.

Their acting and comic timing is met with clockwork precision.

Despite all the blood on screen, Fast Food Nation is a strangely anaemic movie.

Instead of emoting and getting involved we’re left with a sea of questions.

It is a jumble of influences from other, far better flicks and as a whole it is confusing and irritating.

Journey 2: The Mysterious Island is a good example of bad storytelling.

Schwarzenegger wisely tones down his previous big-screen persona and slips into a sort of late-in-the-day charm.

As sweet as it is bitter.

Jim Carrey makes a compelling villain, so much so that when he's not on screen, you want him back.

Lem Dobbs's script is chrome-plated - flashy dialogue and a storyline that goes off the rails.

Even Jim Carrey couldn't get away with a plot as daft as this and since it's based on an Elmore Leonard novel, you wonder whose to blame.

The late 21st century moonscape resembles Las Vegas in a bubble and the hoods behave like they've never left straight-to-video.

There are similarities to the work of David Lynch and Jocelyn Moorhouse, but this is something entirely fresh.

Defect Six: how do you make a movie about losers that isn’t a loser itself?

A soggy experience.

The problem is neither Cage, nor the concept. It is the story.

The original Pelham was a tense affair but this modern version cranks up the edge-of-your-seat factor even further.

Stephen Gaghan's script covers the territory with brutal honesty. The actors respond in kind.

Visually colourful but narratively bland.

This movie demonstrates in nauseating detail how chefs garnish a dish with excreta and pubic hairs, because a customer has complained too loudly, and you watch them eat it and laugh till you're sick (or should that be the other way round?).

Thurber directs with broad brush strokes rather any finesse although the myriad close calls, mistaken identities and persuasions do produce their moments.

As Edwin Starr asked, 'War! (huh) What is it good for?'. On the evidence, it's fair to say 'Absolutely nothing'.

Does not live up to its promise, but is worthy of encouragement, nevertheless.